Rolf tweeten6/4/2023 ![]() ![]() Her weary but kind face provides a warm focus point and a very compelling human anchor. The solidifying element binding the film’s properties is Mwajemi Hussein’s softly entrancing performance. With this kind of approach, the artist must relinquish some control of the work when it comes to divulging meaning – because no two people will arrive at exactly the same reading (the same can be said of all art, but it’s especially true here). Photograph: Murray Rehling/Triptych Pictures and Vertigo Productions Rolf Heer’s desert dystopia in The Survival of Kindness. Suffice to say de Heer moves towards the cryptic, from visions of industrialisation to dramatic moments depicting the treatment of people of colour. ![]() The final hour in particular explores very different places to the desert, not to be elaborated upon here. The answer is more or less yes, but not in the ways you might expect, and not without many surprises en route, including the excellent, underused character actor Gary Waddell (who was brilliant in The King is Dead! and starred in the notorious 1975 film Pure Shit). As it plods forward, viewers will likely wonder whether the entire runtime will consist of BlackWoman wandering. Before long BlackWoman escapes and starts wandering, soon happening upon an almost entirely destroyed building, sans ceiling and several walls.Īmong the peculiarities of the film is a sense that the settings are steering or at least heavily influencing the story, rather than providing locations for drama to take place. It seems the oppressors are the ones wearing masks, which have interesting symbolic implications: not just hiding human attributes but implying an unbreathable toxicity in the atmosphere. The appearance of people wearing gas masks suggests this world has gone to the dogs, but we don’t know how or why. BlackWoman begins The Survival of Kindness in a padlocked cage, dumped deep in the desert. ![]()
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